Month: August 2017

In 1883 Thomas G. Moses wrote that he attended the Chicago Art Institute and “painted from life at Rupert’s Studio every Sunday.”

Adam John Rupert was born in Ft. Plain, New York, during 1854. At the age of eighteen he moved to Chicago, Illinois. Two years later, he was working for P. M. Almini as a fresco painter and met Moses for the first time. Rupert studied at fine art studios and traveled abroad from 1876 to 1880. He was a student at the Royal Academy in Munich and also the Academy of Design in Chicago.

Moses initially reconnected with his old friend on his return in 1880. By 1882 Rupert was hired to teach for the Academy of Fine Arts in Chicago every afternoon during winter term. He established a fine art studio that Moses visited every Sunday. Moses greatly revered Rupert and even named his second son after him.

He bought one of Rupert’s paintings in 1885 titled “My Studio.” It measured 34” x 54.” That same year, Rupert exhibited artworks at the inaugural reception and exhibition for the Western Art Association. They held their show at the Chicago Art Institute on the corner of Michigan Ave and Van Buren Street where a lot of collectors participated in the event. For this show, Rupert had exhibited three pieces “The Violinist,” “The Tramp” and “Discouraged Vestal” (Chicago’s “Inter Ocean” on Jan. 23 1885, page 5). Rupert also participated in the 1888 Chicago Art League Exhibition at Art Institute of Chicago. By 1889 he opened a studio at No. 59 Honore Block in Chicago and soon exhibited at the Chicago Society of Artists. In 1891 his artwork was featured next to those of Walter Burridge, Herbert E, Butler, L.S.G. Parker, Frederick Freer, and Joseph Jefferson (the actor). Other exhibitions for Rupert at the Art Institute Chicago were held in 1898, 1900, 1906, 1915, 1917 and 1919.

In 1892, Rupert, Moses, Harry Vincent and Frank Peyraud worked together to create the settings for William Haworth’s (1860-1920) production called the “A Flag of Truce.” William was Joe Haworth’s younger brother. From the very beginning Joe shared his success as an actor with his family, sending a generous portion of his pay back to them in Cleveland. This money enabled William Haworth to stay in school and attend Annapolis as a naval cadet. However the theatre also called to William. In 1882, it was John McCullough (Virginius lead mentioned in installment 181) that gave him his first professional opportunity.

By 1886, William was acting at the Union Square theatre in support of Helene Modjeska. He eventually left New York and after two years of touring, returned with a completed play, “Ferncliff.” The play was set in Providence, Rhode Island, during the Civil War with ten characters. It opened at the Union Square Theatre in 1889, the same time as Bronson Howard’s “Shenandoah.” It was unlike “Shenandoah,” however, as it lacked the spectacular reenactments of battles and was much more of a domestic drama with comic elements. Here is a great link for further information about the “Ferncliff” production: http://www.josephhaworth.com/union_square_theatre.htm

Haworth reworked “Ferncliff” to become a companion piece to “The Ensign,” a plot set in Havana and involved the ploy of two British officers provoking Capt. Charles Wilkes into a quarrel to delay his interception of the “Trent.” Based partially on factual events from1861, Capt. Wilkes seized two Confederate emissaries to the British government on the vessel “Trent” while on the sea. The incident nearly caused Britain to declare was on the North. In the play, Wilkes eventually escapes the firing squad by the personal intervention of President Lincoln. The production was reported to be an exceptional spectacle.

The “Flag of Truth” opened in New York at the Fourteenth Street Theatre during 1893, the show toured to Plainfield, New Jersey, and then played in Trenton. It now included a thrilling rescue in a quarry that involved a real derrick onstage. Throughout the next decade, Haworth’s Civil War plays were almost constantly performed, often in repertory. For more information about William Haworth and his brother Joseph, here is a good link: http://www.josephhaworth.com/his_brother_William.htm
By 1904 Rupert was part of another spectacle. He worked on an amusement for the St. Louis World’s Fair by Henry Roltair called “Creation.” Rupert and George Schreiber were the assistants to Frank Peyraud for this project. Advertised in the Chicago Sunday Tribune (May 29, page 20) it commented, “the scheme is a deep secret. A great dome covers transformation scenes representing the creation of the world with dioramas showing what man has created in the world.” Taking two hours, a boat trip travelled around the big blue dome that illustrated the works of God during the six days of creation. Other side trips in boats included the scenic vistas of the Grand Canyon, Yosemite, and Alaska that allowed visitors to travel back into prehistoric time to primitive man. Another boat ride entered a labyrinth that depicted ancient countries and cities, including Egypt, Assyria, Greece, Rome, China, Japan, Spain, France, and England. The cost for this adventure was $0.50 for adults and $0.25 for children. I could not help but think of Spaceship Earth in Walt Disney World’s Epcot. But the twentieth century ride paled in comparison to what was offered to 1904 visitors at Roltair’s “Creation.”

On the fraternal front, Rupert was a member of the Independent Order of Odd Fellows and the Maccabees.

To be continued…

Thomas G. Moses worked in Racine, Wisconsin, at the Belle City Opera House until in March of 1883. During March, he also worked for another opera house. The Journal Times (Racine, Wisconsin) reported that “Thomas Moses, the scenic artist, who painted all the handsome scenes at the Blake Opera House, departed for Illinois to-day. During his stay here Mr. Moses has made many warm friends, who wish him every success, wherever he may go” (14 March 1883, page 2). He then headed to Marengo, Illinois for another painting project. Initially named Pleasant Grove, Marengo was a city in McHenry County. The present name originated from the Battle of Marengo fought on June 14, 1800 between the French and Austrians.

Thomas G. Moses’ family was able to join him during his final weeks in Marengo. Although his typed manuscript does not specify his project in Marengo, it was for the opening of the town’s first opera house. In April of 1883, the Marengo Opera House was completed at the expense of $30,000. Julius Cahn’s Official Theatre Guide listed “Thos. Moses” as the scenic artist responsible for the painted settings. The theatre was located on the second floor with a proscenium opening that measured 20’ high by 25’ wide. There were three sets of grooves that measured 16’ high. There was one portable bridge and the grooves could be taken up flush with the fly gallery. The depth under the stage was 5’ with two traps, located back of center stage.

On August 3, 1883, “The Marengo Republican” published, “Few people are aware that Marengo has one of the finest opera houses to be found in the country. Not so large as Rockford, yet it has six hundred and sixty opera chairs, besides two handsome opera boxes (not mere shelves) and space for one hundred and fifty camp chairs in the spacious aisles. It is in all its appointments a model of neatness, convenience and comfort; is easy to access; well lighted; the private boxes elegantly finished; the acoustic properties excellent, and arrangements for heating and ventilation first class.”

After a lecture by Mr. Henry Ward Beecher in the Marengo Opera House, the newspaper published, “Wednesday evening, the house was crowded with as select an audience as we ever saw anywhere, at least 800 persons being present, and the scenery, the beautiful frescoing on the wall and ceiling, the variety of color and figures, all brought out with startling boldness under the brilliant glow of seventy-five gas jets, presented a scene highly pleasing and attractive, and one at which even the most prominent preacher in America felt gratified and honored.”

Beecher expressed “his delight and surprise at finding so elegantly appointed an opera house in a town the size of Marengo, and agreed with what must be a universal verdict of all who visit it, that the Marengo opera house, erected by the unaided private liberality of one citizen – R. M. Patrick – is a monument to his good taste and public spirit, of which every citizen of Marengo should be proud.”

After Marengo, Moses and Graham traveled to Oshkosh, Wisconsin, here they were going after a contract.

This would have been for the Grand Opera House located at the corner of High Avenue and Market Street. It first opened its doors on August 9, 1883 and the first production here was called “The Bohemian.” Perry Landis of Sosman & Landis in Chicago was also providing an estimate for the job. Moses and Landis rode back together on a train bound for Chicago. Sosman met them upon their arrival. The studio wanted Moses and Graham in the Sosman & Landis studio and each were offered $45.00 a week.

Moses wired Graham their proposal as he was in Burlington. Graham was not so eager to accept, however and countered “$50.00 and extras.” The studio agreed and May 1, Moses. Graham and John H, Young were painting in the Sosman & Landis studios. Ed Loitz also joined their team and the studio continued to expand. Unfortunately, the boys were given a lot of “road work” to paint, and were not thrilled with this particular type of project, but the money was steady. Moses was able to rapidly increase his salary as he started to accept after-hour projects, averaging $70.00 per week.

Moses wrote that he accepted a lot of night work, although it was mostly piecework. He soon was sent on the road to complete a job in Eau Claire, Wisconsin.

That would have been the Grand Opera House (1883-1930). In 1883, an opera house was planned for this bustling city of 15,000 serviced by telephone, gas and electric. Streets were lit with both gas and incandescent lamps and four railways serviced the city. Eau Claire was the major stop between Chicago and Minneapolis-St. Paul. Wayne R. Wolfert wrote “Theatre in Eau Claire, Wisconsin: A History of the Grand Opera House (1883-1930)” published by the University of Wisconsin-Madison 1972.

Moses’ family visited him in Eau Clair and they all ventured north for a family trip to Minneapolis.

To be continued…

Part 183: Will the Circle Be Unbroken

“I was standing by my window,
On one cold and cloudy day
When I saw that hearse come rolling
For to carry my mother away

Will the circle be unbroken
By and by, lord, by and by
There’s a better home a-waiting
In the sky, lord, in the sky”

(1935 Folk song by A. P. Carter)

On December 15, 1925, Thomas G. Moses wrote a letter to his daughter-in-law Stella after learning that her mother had passed away. Understanding Moses’ great regret for having lost his own mother at such a young age, the following letter is especially poignant. Here is his letter in its entirety:

“My Dear Stella,

I just received the sad news, please accept our heartfelt sympathies in your days of sorrow. One of the greatest burdens that God asks us to bear is the loss of our Mothers. There is nothing that touches our heart in our every day life like the sorrow brought upon our mothers by some inconsiderate child, and the admiration we have for a mother in her love for the child is something that draws us to all mothers.

Your mother’s life will always stand out like a beacon light: a wonderful inspiration to all those seeking the light. A most consistent Christian woman that sought to do for others, in spite of her affliction, accomplished many worthy acts that will ever live in the hearts of all that knew her. The work is richer having had her with us. Her life will remain in the minds of your girls as one of pure love and sacrifice: a guide for Eleanor in her chosen work and one of sweet memory to all who had the pleasure of calling her friend.

From your sympathetic Father Moses.”

Moses’ eldest son Pitt married Stella Martin of Trenton, New Jersey on March 18, 1903. In 1906, they had their first child, Eleanor. The couple would have two more daughters over the years. Pitted worked for Moses’ brother Frank in the gas industry and business was booming.

Children and then grandchildren initially came back to the Moses home in Oak Park, Illinois, to celebrate Christmas and other family events. As the years flew by, it became more and more difficult to gather all the children home. In 1914, Moses wrote, “Would like to have the children and grandchildren every Christmas. We have a big house to entertain them, and I feel sure they all like to come to the old house, at least once a year.”

Looking back to 1888, Moses wrote, “I was tired of travelling and wanted to remain at home with my little family.” Almost thirty years later in 1917, Moses would write, “Pitt came out for a short visit and for the first time in twenty years, we had only the four children at home for a dinner. They were not allowed to mention their families. We sat each in their accustomed place. We all enjoyed it immensely. It carried us back many years when we were all much younger. I wish we could do it every year.”

Moses missed many family events while he was traveling across the country for work and sketching trips. As he grew older, every interaction with family became a precious memory.

“There are loved ones in the glory, whose dear forms you often miss. When you close your earthly story, will you join them in their bliss? Will the circle be unbroken, by and by, by and by? Is a better home awaiting in the sky, in the sky?” (Original lyrics for 1907 hymn by Ada R. Habershon and Charles H. Gabriel)

 

 

To be continued…

Thomas G. Moses mentioned very little about his health, beyond a few vague statements that sporadically appeared throughout his typed manuscript. In 1919, at the age of 63, Moses wrote that he and Ella were very fortunate, having managed to stay in good health over the years. In 1923, Moses wrote, “The Madam and I had our 67th birthdays during July, and I am free to say neither of us feel the age, as we have had wonderful health and we look forward to several years of good health.” In 1924, Moses’ health began to fail and gradually worsened throughout the late 1920s.

Several letters written between Moses and his eldest son William “Pitt” Moses addressed his declining condition between 1931 and 1933. They are in the John R. Rothgeb papers at the Harry Ransom Center, University of Texas, Austin.

Moses’ poor health necessitated that he plan for Ella’s future. In one letter to Pitt, he explained the state of their financial affairs and included a list of significant investments over the years. He wrote, “I want you to know where we stand regarding finances.” Moses outlined the funds given toward business ventures and family emergencies, especially to help his children. At the end of this letter, he wrote, “I want you to know all this, because, should I pass away suddenly I want Mother to feel that you would look out for her interests in disposing of the property. While I hope to enjoy a few more years in painting, the sudden death of Illie [sister], Frank [brother] and Lucia [sister] has forced me to realize that I have only a few more years at the most, and when I do pass out, I want to feel that my life has not been wasted; and my work will live for many years after I am gone.”

It was his writing “and my work will live for many years after I am gone” that struck a chord in me. It was not the first time that Moses voiced this desire to leave a legacy. It was one of the primary reasons that I fought so hard to secure the Fort Scott collection for the Minnesota Masonic Heritage Center. As a scenic artist and scholar, I was driven to carefully handle and conserve this scenery collection, especially since it was solely produced by Moses at the age of sixty-eight. I was devastated to see the destruction of his paintings in the Fort Scott collection by individuals who did not understand what they were handling or the appropriate conservation techniques. The use of hot melt glue for netting and other destructive methods was, and remains, incomprehensible to me. When I examined the butchered scenes during a concert last February, I felt absolutely helpless. It was as if I had personally let down a close friend. I could not save this particular portion of his legacy.

The Fort Scott collection was created when Moses was at the peak of his skill and just prior experiencing the initial signs of severe health concerns. Just a few years prior to Fort Scott, Moses began to notice respiratory and heart issues, forcing him to seek medical care. He would paint up until the year of his death, but he would never work at the same pace as when the Fort Scott scenery was created in 1924.

In 1932, Moses wrote a letter to Pitt on June 23. In it, he mentioned that his “awful bronchial cough” had continued for ten years. He had previously written, “my years will not admit of too much hill climbing with my forty pounds of sketching equipment.” That same year in his typed manuscript, he wrote, “I do not feel as good in health as I would like to be, but I hope that Dr. Klumph will pull me through. I sincerely hope that the New Year will lift a heavy load of my shoulders and give me one good year to make up for this past bad year.”

In a 1933 letter he admitted his failing health to Pitt, writing, “Mother and I keep going. It is still hard for me to walk any distance if there is at least a hint of dampness in the air. I have terrible spasms of the chest. Dr. Klumph is treating me and I hope to be well again.” That fall, he expanded on his inability to work due to poor health. Moses then bore a little of his soul to his son. On November 7, 1933, Moses wrote, “I jumped into the church job as soon as I arrived and I find it was too much after a trip of 2700 miles and I am now at home getting myself in shape. I see no work in sight, and the heavy expenses of keeping the house going without any help is bearing down on me. Especially with my condition and age against me. It is so hard for me to go up stairs and walk more than three blocks that I fully realize that I can’t last much longer with the added uncertainty of making a living. It is too much. I have been fortunate in making a good living for the past fifty years to accept this present state of affairs. I dislike to write you a blue letter, but it is uppermost in my mind this morning being a gloomy one. I know without asking that when I pass on, that you will do all you can to see that your mother will be taken care of in settlement of property. I will say no more.”

He would continue to take care of Ella even after his passing. They had been together since school and survived all of life’s ups and downs. How could death stop his providing for her now? I could not help but think of one of my favorite songs, “Girl of My Dreams” by Gene Austin (1928).

“And after all’s said and done, there’s only one,
Girl of my dreams, it’s you.”

Here’s a link for the song:

http://www.musictory.com/music/Gene+Austin/Girl+of+My+Dreams

To be continued…

Thomas G. Moses wrote, “1882 found me just as restless to do something big, and I drifted along with the regular work, until about May.” When the theatre season closed, he left Sosman & Landis and partnered with Lemuel L. Graham (1845-1914). That year, Graham was also listed as the scenic artist at the Standard Theatre in Chicago. Two years later, Graham would found his own scenic studio in Kansas City. He later moved to Memphis, Tennessee in 1899, and then Brooklyn, New York by 1904. He would remain there for the final decade of his life. In Brooklyn he partnered with P. Dodd Ackerman, of Studio Building 1576 to 1580 Bushwick Ave, New York.

Moses and Graham’s first contract was in Kalamazoo, Michigan for the Academy of Music, a 1250-seat opera house. Located on South Rose Street across from Bronson Park, it was built and run as a legitimate theatre from May 8, 1882 to June 4, 1919. After that it was run as a film house named the Regent Theatre until fire destroyed it in 1929. The proscenium opening measured 32’ x 32’ with 31 sets of scenery. Moses wrote, “I did all the foliage and I was astonished on seeing my stuff set, to see how I improved.” The theatre was on the second floor with two stores on ground level.

John McCullough, the celebrated tragedian, was to open the new theatre and the owners wanted to make it a big affair. They paid Graham and Moses a good price for special scenery to accompany the production of “Virginius.” Moses noted that they were all Roman scenes, writing, “We spread ourselves and it was very pleasant work.”

Ella and the children joined Moses for part of the summer, traveling next to Grand Rapids, where Moses and Graham completed their second job at Redmond’s Opera House (later known as the Grand Opera House), built in 1882. There, Moses recalled that Graham boarded at a hotel and fell in love with the head waitress and they eventually married. Moses wrote, “she proved to be a good wife and good mother.” The Moses family boarded at a private house, “met a number of pleasant people,” and “thoroughly enjoying the Summer.” By this time, Pitt was old enough to run away and Moses remembered that “he kept us in hot water most of the time.”

Moses’ share of the profits with Graham amounted in approximately $40.00 per week, minus the expenses to keep his family with him. At this time, John H. Young also joined their team. Moses recorded, “He was then working a candy concern, but was delighted to join us.” After completing their project in Grand Rapids, Moses found work in Elgin and his family returned to Chicago. While working in Elgin, Moses made his first water color sketch from nature. He and Young went out as often as we could.

Next on their journey was Racine, Wisconsin. Even with the onset of cold weather, they still continued to sketch and enjoyed it.   In Racine, they painted scenery for the Black Opera House. There, Moses boarded with the widow of Dan Castello, the famous circus clown.

The Castello and Van Vleck Mammoth Show’s began over two decades earlier on May 2, 1863. The story of the Castello and Van Vleck Circus is told in the book “Ins and Outs of Circus Life or Forty-Two Years Travel of John H. Glenroy “and compiled by Stephen Stanley in 1885. The company included: Dan Castello, clown; Frances Castello, rider; Joseph Tinkham; hurdle rider; George M. Kelly and Charles Burroughs, acrobats; Thomas Poland, ringmaster; William Smith, horse rider; Thomas Burgess, clown; Natt McCollom, banjoist and minstrel; Richard Hammon, acrobat; and John Burns, acrobat.

While in Racine, Moses also had the opportunity to do a lot of outside work for traveling companies, including an “H. M S. Pinafore” set. Graham and he were doing much better as they had two good jobs at the same time and money was pouring in. Moses wrote that Graham “was a regular Shylock, a good fellow and a hard worker, but altogether too close to please me.” Graham and Young later departed for Hannibal, Missouri, leaving Moses alone to finish the work. He hired an assistant to complete the project. A lot of time was spent away from his home in Chicago. Moses recalled, “These were lonesome days for Ella and the children. From Racine I would go home each Sunday.”

To be continued…

The telling of this tale is not complete without providing a preliminary look at Thomas G. Moses’ family, his primary network of support. They are the ones who witnessed first hand his talent, love, work ethic and sense of humor. Moses’ typed manuscript records his artwork from 1873-1931, but he actively worked until the age of 78 in 1934. Today’s installment provides a familial context for the future events that I will describe, as well as the significance of his design and painting of the Fort Scott Scottish Rite scenery collection in 1924.

Thomas G. Moses and Ella Robbins celebrated fifty-five years together of “happy married companionship” in 1933. Their sons and daughters, with the respective wives, husbands and families all returned home to Oak Park. The celebration occurred on October 31. The couple was married in 1878 and they had four children, one of who would follow his footsteps into the theatre business and another who would work in the gas industry with his brother Frank.

Very little personal interaction with his children or grandchildren appears in Moses’ typed manuscripts or his few remaining handwritten diaries. It is in his letters and postcards that a love of family and fears of age are revealed.

On July 26, 1931, Moses wrote a letter to his eldest son, Pitt. In it he expressed his love for his wife, writing: “The domestic side of my life has been a very happy one in choosing a wonderful mate, and who has not only been a good mother to our four healthy children, but a very good help in sifting out many financial difficulties that are bound to come into our lives.” His love for Ella was unquestionable. I will never forget transcribing the single sentence in his 1931 diary that documented her return to his side after a long absence. He simply wrote, “Living again.”

Moses lost many precious moments with his family over the years when he was traveling. He missed his wife, children, grandchildren and great grandchildren and wanted them to know he disliked the extended separations. He sent a Halloween card to his granddaughter Doris in 1930. It provides a little insight into Moses’ acknowledgement of his continued absence from loved ones.

In the card, Moses he wrote, “My Dear Doris, Here is wishing you all the luck in the world for a good time during Halloween. I believe you will have frosty weather as we are getting it. Many thanks for your most welcome letter. I am not staying away from home because I like to. I would like to take a train tonight for Chicago. It will be a month more before I can get home. I can’t even get a decent movie for an evening, so my hotel room is all I get. Love from Grandfather Moses.” He was seventy-four years old and still missing out. Three years later he would write, “Tears come to my eyes whenever I think of ‘Peggy Louise’ that I have lived to be a great-grandfather, and not have the pleasure of her companionship in the years that the love of children is so essential.”

Moses’ manuscript does not always include personal family matters, as it was to be a book, “Sixty Years Behind the Curtain Line.” Information from his small handwritten diaries was compiled into a typed manuscript. It was simply titled “My Diary,” as it was left unfinished. His story continued, however, as he kept recording daily activities. The technical information pertaining to work, business relationships and various artistic projects make his story a fascinating one, but it is the overall tone and his perspective that engages the reader.

I previously addressed Moses’ desire to leave something for his relatives and fellow scenic artists. Moses repeated this request at various points in his writings. Although the current version of his typed manuscript ended in 1931, his final two years are preserved in handwritten diaries. Although badly damaged, I am in the process of transcribing them to catch glimpses of his final thoughts. He has the wisdom of age, but there is desperation to tie up loose ends, both personally and professionally.

But why compile a typed manuscript at the age of 75? 1931 was a turning point for Moses as he was forced to face his rapidly deteriorating health. As I read the pages, I think of someone grasping at straws. There is the desire to stay just a little bit longer, to take care of everything, and to leave this life without burdening anyone. It makes me think about pregnant women who go into “nesting mode” just before the birth of a child. My nesting involved finishing cleaning our house after my water broke. I wanted everything in order prior to my departure to the hospital, to prepare a place for another.

Many prepare for a final departure from the world as well. These are the same ones who hate to leave any loose ends behind. They understand that others will soon take over their responsibilities. In a sense, they too are “nesting,” but no longer for their own use. They are preparing a place for those who will remain, their family members who are left behind. Tomorrow I will look at some of his final preparations as they provide a context for his journey.

To be continued…

Moses traveled to Richmond, Indiana, during 1881. There, he and William P. Davis worked on a scenery project. Moses’ assistant, “Will” Davis, was later listed as the scenic artist for the Grand Opera House in Barrie, Ontario, Canada, by 1899. Davis was also listed that year in Julius Cahn’s Theatrical Guide as the scenic artist for the Metropolitan Opera House in St. Paul, Minnesota. Later, in the employ of Twin City Scenic Company of Minneapolis, Minnesota, he was just one of many artists to arrive in the Twin Cities seeking employment as the studio’s business dramatically increased.

“The Evening Item” noted Moses’ scenic art in Richmond, Indiana, at the newly refurbished Grand Opera House (Sept. 19, 1881, Vol. 5, No. 211), describing the refurbished venue.

Miss Marie Prescott was the opening production in the space. An 1881 newspaper article title “Among the Shows” published, “the house is really a beauty, all the old dressing rooms, partitions and scenery have been removed, and new opera chairs will be put in as soon as they are finished. The old entrances to the gallery have all been taken out, and the stage brought forward several feet. At each end of the stage is a private box, with brass posts and rails in front, and curtains of rich crimson velvet and lace. They project fully three feet, and have on each a chandelier which lights the stage.” The newly added scenery included one fancy set chamber, four wings; one set plain chamber, four wings; one kitchen, and one prison, each four wings; one wood, six wings; one landscape, one perspective street, one rocky pass, one horizon, one ocean, one garden, one grand drapery border, one set tormentor wings and doors, three drapery borders, two kitchen borders, three foliage borders, one set cottage, one set bridge, four set rocks, one tree, two set waters, one foreground, one garden wall, one balustrade, two statues. The article published that “the scenic work was completed by Sosman & Landis of Chicago with Thomas G. Moses painting the drop curtain. The newspaper article specified that is was “the finest piece in the entire work and really a work of art.” The auditorium decoration work was done by John M. Wood, of Chicago, who also represented Spoor Mackey, who was a leading theatrical decorator of the West.

It was later known as the Bradley Opera House (located at North Eighth and A Streets), the building was later remodeled by George J. Bradley in 1896 and then noted, “one of the prettiest ground-floor theatres in Indiana” (Logansport Pharos-Tribune, 2 Sept, 1898, page 18). Sadly, the building was destroyed by fire two years later; the cause believed to be from the “electric light wires, which entered the theatre building from the rear.”

This same year that Moses and Davis worked in Richmond, a new daughter was born. Mary Titcomb Moses arrived on September 7^th, 1881. This was the second of four children for the couple. The remaining two would be Lillian Ella Moses in 1886 and Thomas Rupert Moses in 1889. Ella remained in Sterling with her Mother, who was now living in town instead of on Robbins Range. He noted that the arrival of a baby girl necessitated increasing his income. He wrote that Sosman & Landis increased his salary from $21.00 to $26.00 per week upon the arrival of his daughter. This increase was really overdue, as Moses had quickly become a valuable asset to the studio.

Moses explained the reason for the increase was his willingness to do “a great deal of extra work, all on the day rate, I never received more than straight time. I could never see why anyone ever earns any more.”

I want to take a moment to address his statement above, “I could never see why anyone ever earns anymore.” This belief would make Moses an extremely valuable employee, but not necessary a popular one, or a positive spokesman for any labor union. I previous research, Joseph Sands Sosman was curiously absent from any union records, especially during the formation and early years of any union activities. I find this interesting, as many of his contemporaries were the movers and shakers of early union activities. Moses certainly was not isolated in his work, friendships, or projects.

Moses returned to Sosman & Landis in studio for good 1904 to supervise the paint studios. This was a time when Sosman was forced to pay attention to more administrative duties after Abraham “Perry” Landis’ departure due to his failing health. The internal workings and attitudes of the Sosman & Landis Studio primarily originate with the memoirs of John Hanny (1890-1984) who worked at the studio from 1906-1920. It is his memoirs that describe the dynamics of the studio and will be presented after the tale of Thomas Moses.

The American Society of Scene Painters emerged in 1892 (see installment #138) and included some thirty members of the most prominent men in the profession. The objects of the society were “to promote the artistic and practical efficiency of the profession, and consolidate as a whole the dignity of the profession hitherto maintained by the individual artist.” Organized in Albany, New York, the executive staff included Richard Marston (Palmer’s Theatre), Henry E, Hoyt (Metropolitan Opera House), Homer F. Emens (Fourteenth Street Theatre), Sydney Chidley (Union Square Theatre), Harley Merry (Brooklyn Studio) Brooklyn and Ernest Albert (Albert, Grover & Burridge). Their chief grievance claimed that the stage manager was their worst enemy. They complained that scenes were set in accordance with the off-hand wishes of the managers and not with painters direct. Doing so caused many of the most artistic effects of each scene to be lost as they were not properly displayed.

This would make the appearance of a new fraternal client a dream come true. Scottish Rite theatres would not follow the standard hierarchy or the rule of the stage manager.

To be continued…

Thomas Moses’ salary increased from $18.00 to $20.00 per week during the spring of 1881. He was also ambitious to work on other painting projects beyond that offered in the Sosman & Landis studio. He began to look for other employment opportunities and first sought out Lou Malmsha who was still painting at McVickers Theatre, but there were no openings. Moses eventually secured additional work with Lem Graham at the Academy of Music who was painting the scenery for that venue. Moses wrote, “I enjoyed the work, even if I had to do it evenings and Sundays. I received good pay for this, which all helped. The plays were mostly of the melodramatic order and required a lot of scenery.”

Moses’ sister Illie was a member of the stock company at the time. Illie was twenty years old and I had to wonder if she had also run away from home. Born with the name Illinois Mary Moses on December 25, 1860, little is known of “Illie” other than she remained single and lived until May 27, 1932 in Oak Park, Illinois.

The Chicago Tribune on December 12, 1880 (page 18) noted “Miss Illlie Moses” was part of the company for “Neck and Neck” that was being performed at the Academy of Music under the management of Emmett. The lead for the production was E.T. Stetson.

In 1885, Illie performed in “A Mountain Pink” that was presented at the Opera House in Emporia, Kansas. The Emporia Daily February 27, 1885 (page 1) reviewed the performance, noting that Illie Moses “displayed much ability” when she played the dual role of Belle Trafton, “a refined young lady,” and Samantha Weeks, “the old and surly wife of a Moonshiner. She was the supporting role to the production’s lead Laura Dainty.

By 1885, she had briefly returned to Sterling, Illinois to perform the parts of Belle and Samantha in “A Modern Pink.” The Sterling Standard (1 Jan 1885, page 8) remembered her as “an old Second Ward girl,” “a graduate of the class of ’76 in the high school,” and someone “making her way as an actress.”

During 1893, “Illie Moses” was in Montgomery, Alabama for a brief stay, having arrived at the Exchange hotel. It was advertised in the “Personal” section of the Montgomery Advisor on Oct. 4, 1883 (page 4).

I find it interesting that Moses seldom mentioned his sister in his typed manuscript, especially as they both worked in show business. It is possible that their paths never crossed again on the stage or at any other performance venue. Moses’ last mention of his sister was when she passed away. He recorded that he was called to her apartment that Sunday morning. They were both living in Oak Park, Illinois at the time.

There are emotional events throughout Moses’ typed manuscript in terms of business relationships, artistic colleagues and making a living, but few personal descriptions of familial ties beyond mentions of Ella. His writings primarily document his professional interactions and artistic ambitions. In short, his writings are a work log of travel, professional projects, and economic activities pertaining to his career as an artist and not as a brother or father. Even as a son and husband, there are very limited entries. The value of his diaries lies in the notations and descriptions pertaining to various theatrical productions and popular entertainments. From these records, one can trace down further information and details such as venues, years, and coworkers that highlight a particular network of theatrical manufacturers and suppliers.

When Moses helped Lem Graham at the Academy of Music, he commented that Sosman & Landis were very aware of his moonlighting activities and encouraged him to accept the work. Moses wrote “Sosman and Landis knew I was helping Graham and seemed to be pleased that I was forging ahead.” His ambition would ultimately cause him to depart the studio numerous times in search of greener pastures.

To be continued…

When Thomas G. Moses was unsuccessful at securing work at the P. M. Almini Company he headed to a nearby scenic studio. Joseph Sands Sosman was familiar with Moses’ work and offered $18.00 per week to work at Sosman & Landis. This was six dollars a week less than he could make at Almini’s, but the work was steady. Having no alternative, Moses started painting for Sosman & Landis and was sent to Kenosha, Wisconsin.

Sosman joined him immediately on the job and they completed a plain interior, kitchen and some set pieces that April, returning to the studio afterward.

In Chicago, Moses boarded with his friend, Will Tuller at O. W. Young’s on 438 West Van Buren Street.

He did not return to Sterling until the end of May. It was then that he decided to resettle his family in the big city. They moved to 744 West Van Buren Street, a four-bedroom rental for $11.00. The current equivalent for this housing would be approximately $256.00 USD for monthly rental. Moses noted, “My career as a scenic artist starts from here. I was full of ambition and hustle. If I had been endowed with a like amount of ability I would have set the world on fire.”
It was all hard work, but his limited knowledge of scene painting techniques proved to be a wonderful help. He studied the painting techniques at various theaters, attempting to rapidly improve both his skills and his speed.

They saved money from his salary and paid all outstanding bills from their life in Sterling. Moses wrote, “We set our table on $3.00 per week and lived well. We were soon out of debt and started to lay a few dollars for a rainy day.”

Sosman and Moses traveled a great deal in the beginning. Landis was always away, traveling to secure orders. It would take six months before Moses even meet Landis as he was constantly traveling across the country to drum up work. As the business increased, Sosman & Landis added a paint boy to their studio. Although fellow scenic artists told Moses to leave the studio, he stayed employed full-time. Understanding that he could make between $35.00 to $45.00 per week in the theaters, there was stability at the Sosman & Landis studio and a dependable income for his little family. However, their comments made Moses realize that he was worth far more than $18.00 per week, especially as he had proven himself a “hustler” on each job.

His painting was also rapidly improving. Moses wrote, “My work might not have been as artistic as some I saw in the theaters, but it pleased the people who paid for it.”

On one painting trip to Braidwood, Illinois, Moses brought Ella and the baby along. It was a coal mining town. On April 22, 1879, Braidwood experienced tragedy as a terrible fire raged through the town. More than a dozen buildings were destroyed by the inferno, including the railroad depot, a hotel, two saloons, a blacksmith shop, the grain elevator and several homes. Then town was soon rebuilt and drew many newcomers to the area, including Peter Rossi who began manufacturing macaroni there.

In Braidwood, Moses, Ella and baby Pitt visited local parks every Sunday, seeking all the enjoyment they could on their limited means. The couple even went down in a coalmine to examine the process that brought coal to the surface. Slag hills were scattered across farmland after the creation of numerous “coal wells.”

Their simple life put everything into perspective during these early years and proved a driving force for Moses’ strive for success. In 1880 he wrote, “ I was determined to make something of myself. I found an old friend, A. J. Rupert, with whom I had worked at Almini’s. He was now an instructor at the Art Institute, in the life class. He studied abroad and was very clever.” Moses joined the art class, two nights a week for a very small tuition, noted that it gave him enough courage to attempt some figure painting on curtains. Moses commented that many of the artists “were very clever and gave me a lot of valuable pointers, so I improved rapidly.”

To be continued…

In 1879 Moses decorated several private houses, but no one in Sterling could afford a very elaborate job and had very few theatre opportunities. He wrote, “I wanted the big work in the city and if possible, I wanted scenery and not so much decorating.”

Finally, he painted the first set of scenery for “H.M.S. Pinafore” that played west of Chicago. Traveling with the show to Beloit, Illinois, he believed that his scenery looked good.

The production of the painted scenes had proven to be an opportunity to reconnect with his father. Moses wrote, “Father came to the Academy quite often while I was painting the ship set and offered many good suggestions.” I read this and thought that it was probably the perfect show for them to connect on, the old sea captain making suggestions for the ship compositions. Their relationship had come a long way since Moses first left for Chicago and he was now an accomplished artist, receiving support from the theatrical community. This proved his artistic worth to not only his father, but also the entire town of Sterling.

Moses received plenty of encouragement from the travelling companies, all suggesting that he return to Chicago. Moses wrote, “I was afraid to venture, but knew that I couldn’t go on as I was.” He especially need to increase his income after the birth of their first child

On September 6, 1879, “Pitt” was born and Moses wrote about a new fear as provider for his small family. This would be the first four children. He immediately realized that artistic projects in Sterling would never provide an adequate income. During that fall, Moses wrote, “The Winter was coming on and the outlook was anything but bright. I was earning on an average only of about $75.00 per month.”

Moses could continue travelling great distances for painting projects or simply move to a larger city. Regardless, he would have to leave home and start working elsewhere while Ella and Pitt remained at their home in Sterling. The painful separations of the past would start again. He understood that in order to continue his career as both a scenic artist and fine artist, he would need to move to a much larger city immediately and send for his family as soon as possible.

While contemplating where he should seek employment first, Moses received an offer in Grand Rapids, Michigan. His friend “Faxon” was going to start a regular painting business and wanted Moses as a partner. Moses wrote that Faxon was a “high-class sign painter and a good hustler.” In the end, Moses made up his mind to head toward Chicago in the spring. He had several jobs up to Christmas in 1879, but a lot of idle days. He wrote, “I didn’t have the painting bug then, or I would have painted pictures.”

Moses reflected on his wife’s undying support regardless of their situation, even understanding that she would soon be left alone to raise their child. He wrote, “Ella was very brave through it all, never complaining, which kept me up. There were a great many men in Sterling who were doing no better than I, and some doing less, and they seemed to be happy. But I would never be satisfied, for I had been to Chicago and knew what I could do.”

To be continued…